Based on the opening and analysis of the extensive bundle of cinema advertisement in the Freiburg newspaper this work describes the establishment of the star system in cinema trade before the first World War (1911-1914), using the local example of the city of Freiburg im Breisgau. Centrical subjects are the advertising strategies of the cinema operators. Through advertisement they suggest to the audience reading newspaper to visit long movies with the Danish actress Asta Nielsen.rnCinema advertisement in the local press hands down an important contemporary connection between film industry and cinema audience. It includes substantial information and promotes single film programs for potential moviegoers from "better" Circles. Progressing chronologically through the Freiburg cinema advertisement the work shows the innovative features of the rental of singly offered films with Asta Nielsen up to Asta-Nielsen-series: Exclusive monopoly movie distribution, block beeches of whole film series in advance and the increasing focus of cinema advertisement " in form and content " on the principal actress as a decisive advertising medium. Asta Nielsen is promoted as a brand " the changing titles of her films become less meaningful than the actress herself.rnThe competitive cinema enterprises answer with the mustering of names of authors (like Leo Tolstoy or Charles Decroix), of fictional figures like private investigator Nick Winter or comedians like "Max"(Max Linder) or "Moritz"(Charles Prince) and of actors and actresses like Henny Porten, Wanda Treumann, Suzanne Grandais or Waldemar Psilander. These counter-strategies are circumstantial evidence for the success of the celebrity centered advertising for Asta-Nielsen-films. Even the announcement of films with the Swedish actress Ida Nielsen profits directly from the excellent construction of the brand Asta Nielsen. Comparative data elevations for the mentioning of actresses in the cinema indications of the Freiburg newspaper show that Asta Nielsen takes the top rank by far. In this way the work demonstrates once more, that the radical media change from the number program to the long movie in Freiburg has to be significantly read from the cinema advertisement for Asta-Nielsen-films.